Calligraphy and a message deep within

VIJAYAPURA: When veteran artist Dr Subbayya Neela was invited to join a campaign to spread communal harmony through the ancient but fading art of Islamic calligraphy, he could not hide his delight. For him, the idea was not merely about preserving an art form, but about exploring the potential of art to transcend barriers of faith and culture. I have always believed that art knows no religion or boundaries. Art has the power to touch the hearts of people across communities. That is why, when I was approached to contribute to this unique initiative, I immediately agreed. I prepared a few pieces of Arabic calligraphy that were later exhibited in different places as part of the campaign, recalled Dr Neela. Among his works was a calligraphic representation of the Arabic phrase Allahu Akbar, which means God is Great. I was given the liberty to interpret the phrase through my own artistic imagination, while maintaining the sanctity of the verse. It was both a responsibility and a joy, he said. Dr Neela is among 40 artists from across Karnataka, both Hindus and Muslims, who have joined this movement that began in Kalaburagi in 2020. The campaign was conceived not only to preserve Islamic calligraphy, which has been steadily losing ground, but also to foster unity at a time when society is fractured along communal lines. The group of artists who joined the campaign The Initiative It was the brainchild of noted artist Mohammed Ayazuddin Patel, a veteran painter from Kalaburagi and recipient of the Lalit Kala Akademi Award. When hatred and intolerance seemed to be gaining ground in society, we felt the need to bring people together. We thought of reviving Arabic and Islamic calligraphy because it embodies both artistic beauty and deep spiritual messages. At the same time, it offered us a platform to involve artists of all faiths to work together for harmony, he explained. Ayazuddin was soon joined by another respected artist, Rehman Patel, and together they expanded the circle of participants. What started with around 15 artists, junior and senior, has now grown into a diverse collective of 40, half of whom are Hindus. These artists work closely with their Muslim counterparts to ensure accuracy in Arabic writing, while retaining artistic freedom. The campaign, in many ways, draws inspiration from the history of the Deccan itself. Rehman Patel points out that after the decline of the Chalukyan dynasty, many local artisans and craftsmen found themselves unemployed. With the arrival of Muslim rulers in the region, particularly in erstwhile Bijapur and Gulbarga, these artisans were drawn into projects that fused Persian and Turkish influences with local Indian traditions. The architecture of that time was a collaboration. While designs came from foreign artists, the actual construction was executed by local Hindu craftsmen. The result was Indo-Persian art, a blend of Indian and Islamic architecture that still stands testament to cultural harmony, he said. Arabic and Islamic calligraphy flourished during this period, adorning monuments and manuscripts, but over the centuries, as tastes and practices changed, the art form began to fade. Our campaign is an attempt to not only revive this vanishing tradition but also to remind people of the harmony that once defined this land, he added. Preserving sacredness A key aspect is the selection of verses from the Quran. The organizers have been deliberate in choosing verses that emphasize unity, peace and brotherhood, values that are not confined to one faith but resonate universally. The artists are given complete freedom to use their imagination while ensuring that calligraphy remains the focal point. We guide them on the technicalities of Arabic script, but artistic interpretation is entirely theirs, explained Ayazuddin. This way, we safeguard the sacredness of the verses while allowing creativity to flourish. For many Hindu artists like Basavaraj Totad and Rajani Talwar who are involved in it, it has been a learning experience. Working with Arabic characters is not easy, and ensuring accuracy requires constant collaboration. Yet, this very collaboration has built bonds of trust and friendship. It is heartening to see artists from different backgrounds sit together, discuss and create something so meaningful, said Ashok Hiremath, an artist from Bidar. To showcase their work and reach a wider audience, the collective has organized exhibitions, usually coinciding with Id-Milad, the birth anniversary of Prophet Mohammed. So far, five exhibitions have been held, each drawing large crowds from different faiths. The response has been overwhelming, Ayazuddin said. We have seen people from all communities attend and appreciate the art. Many told us that such initiatives give them hope that religious harmony is still alive in our society, and voices of hate and division are not as strong as they seem. The exhibitions are not limited to calligraphy, but also feature paintings and photographs of ancient monuments from the Deccan region, tying the campaign to the cultural and architectural heritage of Karnataka. This serves two purposes. It connects people with their shared history, and encourages them to protect and preserve monuments that are our national heritage, said Rehman Patel. Messages beyond borders For the participating artists, the project is as much about personal conviction as it is about art. Dr Neela believes the messages of peace from saints and prophets have universal appeal. Prophet Mohammed spread the message of peace, which can be accepted by anyone, anywhere in the world, he said. If art can be used as a language of unity, it should not remain confined to one place. Art has always been a reflection of society. If society is fractured, art can heal and unite. That is what we are trying to do through this campaign, Ayazuddin said.